The summer 2013 batch is well underway. All the instruments are also spoken for. Thanks to everyone who has reserved an instrument, it's a lot more motivating to go out to the shop knowing this is all of interest to others. I'll try to keep this thread going to keep everyone in the loop. Laminated necks -- #22 on the left/upper, the other one is probably going to be used on a personal instrument due to the inconsistency in the coloring. <p></p> Highly figured Makore for block inlays and headstocks on #24 and #25, and the headstock for #23. > Ziricote for the headstock and fretboard on #22. Alaskan yellow cedar top with offset joint. Not sure where to use this ... possibly #26, which is still in discussion. Straight redwood top -- this is either #22 or #24. Mahogany backs for #22 and #23.
Some very striking wood figure in this batch Marty. I especially like the ziricote and makore. It will be fun watching this new batch emerge.
Congrats Marty on all of them being spoken for. I'm so glad one has my name on it! Great thread to start, it will be neat seeing them come to life from scratch.......Kris
You've outdone yourself with some beautiful woods on this batch,Marty! That Makore is awesome. Can't wait to see how this batch turns out.
This is going to be a blast to watch everyone's being built. Hey Kris, what number are you? I am #23!!!
Hi Michael, I am #24 and I bet your as excited as I am. Going to be fun to see, for sure.
Definitely! When I had one made by a different builder I received one picture and then just waited for 4 or 5 months. This makes it a lot easier when you can see it as its happening.
Yeah, customer service goes a long, long way.
Kris and Michael - I'd be excited too. That's some gorgeous wood. Watching the build come together is almost as much fun as taking possession of it. I'm enjoying the heck outa my Nautilus #18. Marty is a creative genius, and such a nice guy. Enjoy the ride.
Steve-o, your mandolin is the reason I wanted a curly rosewood top. That thing is absolutely beautiful in appearance and sound. You have to keep me updated on how much that sucker is opening up.
I've gotta ask, what tha heck is Ziricote? Never seen anything quite like that, but it's BEAUTIFUL.
Colour consistency is for the bids Marty, that's a beautiful neck.
Mike, Ziricote is an exotic wood similar to brazilian rosewood, but with more of a chocolate coloring. It's gorgeous stuff. Pete, I agree, too... and so did the Gibson company back in the early 1900's, apparently. Here's a crazy idea... exploring some ideas for some subtle... OK, not-so-subtle hot rod details on the next Concerto model. I know, the Hot Rod Concerto. But it's going to happen.
I'll add another thumbs up for the ziricote...it's beautiful!
Hot Rod Concerto, If it looks anything like the work done in that picture above you can't go wrong.....Kris
VERY nice, Marty, as always...and so wonderful about each build already awaiting grateful ownership. You have worked so very hard to get to this point, and brings me great joy to see such good things happening to you. Thanks! (and off to play #17 MkII) MK
`OH.MY.GOD! Pinstriping?!?, To quote my kids, S@#t just got real! I love that. May be my favorite thing I've seen you do (yet).
Seriously, old-school pinstriping like that is done well by so few people. That just blew me away. You ought to consider doing something like that on the headstock, instead of the standard ferns and flowerpots.
Marty, congrats on having this batch spoken for. But you know what this means, you have to quit thinking in terms of spring and summer batches and go with June, July, August, etc. Or make 20 to 25 per batch. Seriously I know we're all happy for you. You guys that are on the list have something terrific to look forward to. I go to Marty's web site and I see pictures of #15. Then I walk into the next room, open the case and there it is! I can take it out and play it too. It's awesome. My poor Eastman hasn't seen the light of day since #15 arrived. I too like the various woods that will be going into your mandos and can't wait to see the finished products.
Thanks, everyone. This batch is going to be very cool, I'm excited to see how they turn out. Here's maple for #19: And for #24: And for #25: Sinker Sitka for #25:
Just a note to say hi. I have #25 spoken for. It will have similar tonal characteristics and build to #21 (David Mold's mandolin). Cheers Nic
NG53,if it's in the same vein as #21, you're gonna be a happy man in just a few weeks! I really like the sound of that one. Congrats.
Hmmm - not too sure about the scribble on that back.
Pete, that's ballpoint figuring.. it occurs in only the highest quality maple, you know. EDIT: Oh, I see, Pete, you meant the pinstriping. Yeah, it's a little out there. Most people don't have pinstriping on their cars, either. I figure people will either love it or hate it.
I've heard the hardest part is finding a piece with the ballpoint figuring in exactly the place you need 'em.
Yes, Nic, good choice!
#25 sounds cool Nic, Welcome to the group here.....Kris
Thanks MikeDmandoman and Dave for my choice. Dave you really make it sing. Have you true out any other styles of music on it?
Sorry I should add Dusty Miller as well sending me congrats.
Thanks Nic. I haven't really yet, but the tone playability of this one, and Marty's nice Bach rendition, are tempting me to try out some different styles, maybe some Bach and a bit of jazz. I only know one Brazilian choro tune, Diabinho Maluco but it does sound great on that.
Well I just joined this group this morning and these hi-rez photos are great! I am in line for #22 and very excited. The pin stripping idea on the headstock is a great idea. Shoot me an email about that Marty. Sean
Hi Sean, congrats on #22. The pictures and videos in this group are great! It's nice to stare and listen, reiterates the fact you made a great choice buying a Jacobson. Welcome to this group.....Kris (#24)
Marty, What's the difference with a Concerto model? Just curious....Kris
Kris, I call the mandolins designed for Thomastik flatwound "classical" mandolin strings "Concerto" models. #16 was the first one, and #26 will be another. They're fun instruments. Here are some neck blanks, just glued up: And cleaned up a little bit (#24 on top, #26 on the bottom, the others in between): Here is the eucalyptus veneer. Too bad you can't see that beautiful bee's wing figure after lamination. I feel bad about hiding it like that. But all the other "black" veneer products are too brittle, too expensive, too oily, or not strong enough.
That IS cool looking stuff Marty
Really cool to see the process!
Thanks, Kris! I'm just setting up a much improved neck machining process, and will hopefully have some necks to show tomorrow.
I am taken aback with this group's enthusiasm for Marty's mandolins. For all the time I have been on the cafe I have never experienced such fervour and delight about mandolins. Marty you have created something special in your production process and engagement with your customers. We need more of this personalized service in the world generally. Thanks for posting about the progress with the necks. Nic
Well also, not every builder makes them six at a time like Marty. It's a pretty amazing thing.
I am obviously enthusiastic about it. Thought never crossed my mind before to go to someone who builds mandolins. I love playing the mandolins I have now and they are cookie cutter made.......Kris
Marty you'll have to explain to me one day how you make a mandolin for a particular type of strings.
Sure thing, Nic, there are a lot of fun people around here. This batch is a lot more fun than the last one was.. I was getting a lot of comments on the last batch in progress along the lines of "but is that going to work"? Now that we know the process does work, it's just about getting things refined, and continuing to have fun with all the little details. I have no intention of turning this into a big operation... 10 instruments every couple months would keep my family fed, and I think that's fairly easily achievable... remember I usually only work on this stuff two days a week. I should be able to speed things up considerably if I can do this full time. But I'm not going to dive into anything... I've seen way too many good luthiers (and photographers, and designers, and CNC guys) over-commit themselves and end up with just a lawsuit and stack of debt. We'll see where it goes. In the meantime, it's more fun than working! Pete, it's just a matter of balancing the stiffness of the top against the intended string load. With normal strings I end up with tops about .130" at the recurve and .200" in the center for a spruce transverse-braced top. With the Thomastik strings, it can be a lot lighter. The top on #16 is quite thin, but it doesn't exhibit any of the symptoms of an overloaded top. In fact, the treble range, which is usually most affected by a top being too floppy, is particularly fat and clean on that one. I don't know how much lighter it's safe to go... but that's what #26 is for. Pushing the envelope on that type of instrument a bit further.
Marty, You have to by all means keep it fun for yourself. Nothing better than getting paid for what you enjoy doing....I've heard Kris
So I've spent most of this week developing an improved neck machining process, refining the design of the necks to correct a couple little things which have bothered me about them, and developing a new "long neck" neck variant that results in bridge position more like the "Ms. Griffith" Loar A-5. I don't know if it'll work great, or not really do much to the sound, so I'm only trying it on Kris's #24. I approximated it as well as I could on #13, as a test, and it wasn't night and day, but it was a noticeable difference. A little more percussive. Came up with a new headstock to go with the long neck, to help out the visual balance a little bit. I think I'm going to use this headstock shape on #26, as well. Anyway, here's the new vacuum fixture. It's very frustrating to work with vacuum, because if you have even a microscopic leak, the part won't seal at all. It's all or nothing. For the first few cycles I run on a new fixture, I'm biting my fingernails because if it breaks loose, it's going to fling across the room at high speed. But I finally got the seals worked out, and here's the gauge reading 20 inches of mercury. So with about 20 total inches of surface area, that's like a couple of full-grown men standing on top of the part. It's not going anywhere. First pass is roughing, then a finish pass, and the part gets flipped onto the vac fixture. The result is very clean, and almost polished, in most places. This is the neck for #24. The best thing is that the new code dances around the direction of the grain. I have never gotten clean corners right off the machine on mahogany before. They always blow out a huge chunk of wood, and require significant sanding in order to be cleaned up. That's the neck for #25.
Did you design and manufacture that "vacuum block" yourself? Ingenious concept, and some really nice design and engineering to do just what you need!
Very impressive as usual Marty!
It's amazing how #24's neck came out. That tiger striping look is gorgeous. I can't wait to see it with its finish. Kris you have something special headed your way!
Thanks, Mike and Michael. Yep, I built that fixture over the past couple days, out of a big ol' chunk of polyethylene. Vacuum fixtures are commonly used in industry, and I'm slowly converting all my fixtures over to vacuum. They take about a week apiece to design and build, but they solve a lot of problems and are easy to use when you have them working correctly.
Wow! What you fabricated to do it and how it turned out. Looks great to say the least. I like the striping as well, very nice. Kris
Marty, Thanks for the continuous flow of pictures. It's really interesting to see the process and watch these mandolins become a reality. Mike
